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tv   [untitled]    September 20, 2010 4:30am-5:00am PST

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addition the school at the end is at 4e feet in relation to our building. this is -- a -- this is a view from the roof of the subject building, to the west. to the nirs looking across prescott court. as you could see here, this apartment building and the apartment building beyond are built at 40-foot level and they contain penthouses above the 40-foot height. this -- this iman shows a view from the parking garage to the east of the subject property. subject property here, we're adjacent to the public school building, again, as you could see, as -- as we move along there's various heights, this building in particular and -- a 40-foot height limit. as we get into -- into the proposed project, as mentioned, we're proposing a fourth story on the three-story structure,
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through numerous conversations and -- back and forth with h.d.t. and the preservation team and staffing planning we ended up with a 12-foot setback off the front of the building for the fourth floor addition. and we also maintained a rear yard off the back. early on we had a preapplication meeting with the staff planner. he property to our attention that planning would recommend that we push the fourth floor back even though we're in an r.h. 3 district that allows you to build to the front property line. he -- he given any light issues on it would be like pushing it back 12 feet and have a variance in the setback and the height area. we have gone through that variance process and been approved. as you could see in the diagram, it is -- it is quite clear from
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an experiential standpoint within prescott court, it is less of a view and i would -- s got court, i would argue the point that the request your brought up in terms of sun. the diagram is not accurate. we are located to the east, so there is minor impacts to the sun, but nothing significant. this is a view from prescott court. this is the worst-case scenario. the rest of prescott court, you don't see anything. this is the massing of the back of the property. again, we are consistent with the context. i know that the d.r. request your -- the d.r. requestor brought this to everyone's attention, but in conclusion i would like to say we have gone through quite an extensive process. president miguel: thank you.
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speakers in favor of the project sponsor? if not. d.r. requestor, you have to- minute rebuttal. >> i want to bring up this one again, the privacy issue. as soon as i walked through, the sun deck will easily be looking through the windows of the bedroom across the street. also, according to the city planning department, for that halley -- for the alley, we have
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the street height at the property line should be no greater than 1.25 times the alley with. about the height, there should be a setback of about 15 feet. the proposed product is located in a less than 16 ft. wide alley and the height is only 12-foot setback, which is not enough. thank you. president miguel: thank you. practic sponsor, at 2 minutes. -- president sponsor, two minutes. >> the project has been changed by interaction with the planning staff, residential design team, and they have said there is no exceptional or extraordinary circumstances. the d.r. requestor did not participate in the neighborhood meeting or the variance hearing, so we were caught blindsided by the concerns.
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regarding the three issues, the light issue is not significant. this has a large set back. he is presenting the sun as if it is always coming from the same direction, whereas the architect said the sun moves around and it would not be unusual in our city. regarding the view blockage, that is disqualified for d.r., basically saying you are blocking my view of the transamerica building. i don't think that as a basis for d.r. regarding the privacy issue, he does not point out the same when does that he is concerned about us sitting 15 feet away are also visible directly out the front windows of the project site and it is a much more direct view then someone sitting on the roof. and we have a picture here, if you have questions. these are fairly small windows. from that angle, at most one would see a few feet into the window on the the best circumstances because of the
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steep angle, so there is no significant privacy issue and i don't think there ever will be across the street looking into windows that are also visible from other windows on that same street. therefore, we don't think there is any substantial case made for exceptional or extraordinary circumstances in this case and request the commission, and recognition of that, to decide that no further hearing is necessary and allow this project to proceed. thank you very much. president miguel: thank you. commissioner antonini? commissioner antonini: thank you. this is an example of things that can be gained through the pre application process. as was pointed out by the residential design team has supported the project and actually did not field this rose to the level of significance that would have come under the d.r. process. i think they are doing as a great service. i am not sure what the actual condition was, but it is
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probably one that was uninhabitable in its present state. so this is creating three habitable units where there were not effectively, and it is rh-3, and the 12-foot setback is what i think has been worked out by the residential design team and is correct here. i agree that is more of a view that a light issue. so i would move to not take d.r. and approve the project. president miguel: is there a second? commissioner sugaya: i will second, but i have questions first. are we having railings on top of this thing or what? >> no, sir, there is no glass reeling. commissioner sugaya: okay, i must be thinking of a different project.
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the second question, in terms of the historic status of this building, the staff memo says it is adjacent to a national registered and locally designated jackson square, northeast waterfront, telegraph hill. does that mean that this building is not near any of them? >> that is right, there was a categorical exemption issue. commissioner sugaya: why wasn't it considered an historic resource? >> it is. commissioner sugaya: and we are following the secretary of the interiors standards. >> yes. commissioner sugaya: okay, thank you. i just might say that i have had some correspondence with respect to this that compares this project to one that we had before us a while ago.
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i think the situation here seems to be a little different, especially in terms of the location of the property at the end of that alley and its adjacency to commercial properties. i don't know how tall the school building is, but it is approximately the same height. i think the physical circumstances are much different here than they were on the other project. >> yes, commissioner secretary avery: the motion on the floor is to not take discretionary review and approve the project. on that motion -- [roll-call vote] secretary avery: that motion fails on the 3-1 vote, with commissioner olague voting
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against. commissioners, and the absence of a successful motion, this project will be approved as proposed. president miguel: thank you. secretary avery: commissioners, you are now at general public comment. members of the public may address you of interest to the public. president miguel: is there any general public comment on items not on the agenda? not appearing, public, is closed. -- public comment is closed. this hearing is adjourned. secretary avery: thank you.
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>> i work with the department of environment and we are recycling oil. thank you. we can go into a refinery and we can use it again. they do oil changes and sell it anyway, so now they know when a ticket to a. hal>> to you have something you
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want to get rid of? >> why throw it away when you can reuse it? >> it can be filtered out and used for other products. >> [speaking spanish] >> it is going to be a good thing for us to take used motor oil from customers. we have a 75-gallon tank that we used and we have someone take it from here to recycle. >> so far, we have 35 people.
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we have collected 78 gallons, if not more. these are other locations that you can go. it is absolutely free. you just need to have the location open. you are set to go. i'm the president of friends of mclaren park. it is one of the oldest neighborhood community park groups in san francisco. i give a lot of tours through the park. during those tours, a lot of the folks in the group will think of the park as very scary. it has a lot of hills, there's a lot of dense groves. once you get towards the center of the park you really lose your orientation. you are very much in a remote
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area. there are a lot of trees that shield your view from the urban setting. you would simply see different groves that gives you a sense of freedom, of being outdoors, not being burdened by the worries of city life. john mclaren had said that golden gate park was too far away. he proposed that we have a park in the south end of the city. the campaign slogan was, people need this open space. one of the things that had to open is there were a lot of people who did a homestead here, about 25 different families. their property had to be bought up. so it took from 1928 to 1957 to buy up all the parcels of land that ended up in this 317 acres. the park, as a general rule, is heavily used in the mornings and the evenings. one of the favorite places is up by the upper reservoir
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because dogs get to go swim. it's extremely popular. many fights in the city, as you know, about dogs in parks. we have 317 acres and god knows there's plenty of room for both of us. man and his best friend. early in the morning people before they go to work will walk their dogs or go on a jog themselves with their dogs. joggers love the park, there's 7 miles of hiking trails and there's off trail paths that hikers can take. all the recreational areas are heavily used on weekends. we have the group picnic area which should accommodate 200 people, tennis courts are full. it also has 3 playground areas. the ampitheater was built in 1972. it was the home of the first
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blues festival. given the fact that jerry garcia used to play in this park, he was from this neighborhood, everybody knows his reputation. we thought what a great thing it would be to have an ampitheater named after jerry garcia. that is a name that has panache. it brings people from all over the bay area to the ampitheater. the calls that come in, we'd like to do a concert at the jerry garcia ampitheater and we do everything we can to accommodate them and help them because it gets people into the park. people like a lot of color and that's what they call a park. other people don't. you have to try to reconcile all those different points of view. what should a park look like and what should it have? should it be manicured, should it be nice little cobblestones around all of the paths and like that. the biggest objective of course is getting people into the park
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to appreciate open space. whatever that's going to take to make them happy, to get them there, that's the main goal. if it takes a planter with flowers and stuff like that, fine. you know, so what? people need to get away from that urban rush and noise and this is a perfect place to do it. feedback is always amazement. they don't believe that it's in san francisco. we have visitors who will say, i never knew this was here and i'm a native san franciscoan. they wonder how long it's been here. when i tell them next year we'll get to celebrate the 80th anniversary of the park,
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>> as the city of san francisco has grown, there are a number of cultural organizations that have grown with it. the san francisco symphony, the ballet, and ensure we are celebrating the 75th anniversary of the san francisco museum of modern art's. one of the things many of our viewers may not understand about
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museums is the way they grow and evolve is really about a broad. his patient and support from many individuals who give their collections -- and broad support from many individuals who give their collections to the museum. this year it will be celebrating and abolishing those individuals through exhibition -- and acknowledging those individuals throughout asia. joining me is janet bishop, the curator. i understand you have been with the museum quite a number of years. you remember its original home on van ness. now you are part of that transition to the center, the civic center, and of course your museum has been really the anchor of cultural tenants that has helped us transform this
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area of the city. >> to my mind, it is wonderful to be part of such a rich cultural community. when visitors come to this area, that have so many different options. >> let's talk about the anniversary show, which will be a phenomenal opportunity for san franciscans and all visitors of the city to get a real sense of how the city has grown and the importance of culture. >> we focus on moments where it was involved in pushing the dialogue about contemporary art forward. the jackson pollock exhibition in 1945 is a perfect example of that. our founding director was deeply interested in abstraction and was engaged in dialogue with the guggenheim about bringing the jackson pollack showed to the west coast. the original price for the painting, $750. are directors thought that was
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too much of a stretch before the board of trustees, so she convinced them to reduce the price to firefighter dollars. it was just -- to $500. it was what was needed to persuade the board. it is a very subjective history of art. it has been very much shaped by the individuals involved with the museum over the years. in 1935, would start with the gallery with works that came in through albert bender, one of our founding trusties. when we opened our doors in 1935, 181 of the 186 pieces in our permanent collection had been gifted. >> what are the names that pop out as the museum evolved? >> we have another gallery that looks at the theories that the museum has since the late
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1980's. we focus on a particular aspect of that program that developed under one of art curators. he arrived in 1989 and was especially interested in artists. >> are some of the highlights? >> one of the aspects of the museum program that i have been especially involved with have been the exhibitions that stand for society for the encouragement of contemporary art. it is encouraged to honor exceptional bay area artists during their careers. for instance, an early worked who showed here in 1996. for this exhibition, he has extended an updated it to 2010 with the addition of photographs and other frameworks. >> thank you for joining us.
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>> my pleasure. >> as we examine the 75th anniversary, we cannot overlook its important role as an educational institution and how it brings public program to all of our citizens in the bay area. try me now to talk about that is dominick, the curator of education and public programs. you are vested with a multifaceted responsibility, with education and also multimedia. could you explain that? >> there are three main areas. we produce education activities for all ages, k-12, and adults, and we also produce a lot of educational media, a lot of
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interviews with artists, stuff that we published online, and other galleries. there's also a public program, which include some educational activities, but also live cultural programming for the artists projects. >> what are all the ways that the museum reaches out? >> the latest platform for educational media is launching right now with his anniversary. we have gotten to the point where we could put a lot of the content about artists, the stories behind artists we have had on line, but those on to the ipod touch. >> could you talk about the education role that the museum plays in the city of san francisco? >> we are in the middle of a new initiative to provide more resources and programs for families and the locality.
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we are benefiting from a grant from the wallace foundation, and in the last two years many more bay area families have come to the museum, participated in the programs, most of which take place on sundays. we will see more and more different offerings rolled out in the coming months. >> thank you, dominic, for being part of "culture wire." >> the museums are almost like a team sport. there is a tremendous amount of talented staff that puts together patrons to help support the institutions, but they all need a coach. the coach is the director. neal, could you let the viewers know, you have been director how long? >> we are working on eight years. >> now you have the 75th
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anniversary. how does that feel? >> we opened this building in 1995. it was bought at that time as a move from the civic center and the veterans building 2 third street, into our new building, a much expanded space, better space. it will be wonderful for the museum for decades to come. and 15 short years we have been amazed by we have outgrown the building. the collection has grown to 26,000 works. >> was a challenging to decide what was going to be put on display during the anniversary year? >> 3 people on our staff spent 2 1/2 years of going through archives, the storage vaults, honor think all kinds of works that we have not seen -- uncovering lot of works that we
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have not seen but also history we uncovered about how we presented a television show produced by the museum, in the museum, in 1950. a lot of great stories that the presentation tells. >> the most recent news was the incredible decision on the part of donna morris fisher to give their collection to sfmoma. >> think it is commonly understood that the fischer collection was 1100 works by some of the great contemporary works, one of the great collections in the world. in fact, the collection has not been seen. it has been largely stored at the headquarters, there has never been a publication or exhibition. >> but fischer collection and the additional expansion over
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the next 50 years, what in the next 25 years will the museum be doing? >> we are very committed to expanding the museum, expanding the collection, the overall growth of the museum. that is one of the things that is very important to us. we are about to enter a strategic planning process. the fundamental question we want to address is, how wil sfmoma growth and enhanced its engagement with the community? it is not enough that the museum has great works in its collection, has great exhibitions, wonderful education programs, it is how does the institution grow and enhance its relationship with the community. it is very important to us. >> on behalf of the residents of san francisco, we thank you for shepherding this institution through this incredible growth
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phase, and thank you for being part of "culture wire." >> my pleasure, thank you. >> the museum has exciting anni